{"product_id":"toscanini-beethoven-the-symphonies-vol-3-1948-pasc600","title":"TOSCANINI Beethoven - The Symphonies, Vol. 3 (1948) - PASC600","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording, 1948\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:02\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnn McKnight, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJane Hobson, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrwin Dillon, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNorman Scott, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCollegiate Chorale, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003edir.\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Robert Shaw\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC600.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis set of three volumes (two double CDs and a single) brings together the\nofficial RCA releases of Toscanini’s late 1940s and early 1950s Beethoven\nsymphonies, with one notable substitution. The 1952 recording of the Ninth\nSymphony was released on Pristine as PASC120 in 2008. Rather than revisit\nit we decided instead to use the 1948 recording that was broadcast as an\nearly telecast. It’s a less well-known performance, and one which has\nbenefited greatly from the Pristine XR treatment, as indeed have many of\nthe official RCA releases.\n\u003c\/p\u003e\n\u003cp\u003e\nI have attempted across these volumes to find a continuity of orchestral\nsound quality that is audibly missing in the RCA issues. In each case, with\nthe exception of the substituted Ninth, the symphonies were recorded by\nToscanini with his NBC Symphony Orchestra in Carnegie Hall, either in live\nor studio recording situations, and as such one might expect a consistency\nof timbre. XR remastering allows for this, using the concept of tonal\nre-balancing to iron out the inconsistencies of the original recordings.\n\u003c\/p\u003e\n\u003cp\u003e\nThe recordings and performances – that Ninths excepted – are very\nwell-known, and it’s hard to hear or describe them anew. Rather than\nattempt to do so, I came across this review in The Gramophone of July 1958,\nwhich covers the entire vinyl series as issued in the UK. Due to the\nlimited space available this will by necessity be reproduced across the\nthree CD inserts, but can be read in full on our website at the page\ndedicated to each volume’s release:\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eToscanini's Beethoven\n\u003c\/b\u003e\u003c\/p\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003e\n\u003c\/b\u003eThe Beethoven symphonies are the staple of the gramophone repertory no less\nthan of the concert hall. Over the years the Toscanini versions have\nachieved a classic stature rivalling that of the old Weingartner set. And\nwith good reason: for the forcefulness, sometimes almost the ruthlessness,\nof the Toscanini style is ideally suited for Beethoven. Where, in other\nmusic, the style sometimes seems distinctly less suitable, it is easy to be\ndiscovered muttering darkly that he is playing it \"like a Beethoven\nsymphony\".\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe integral LP set was made entirely with the N.B.C. Symphony Orchestra, a\nbody of fine and finely disciplined players who responded to their\nconductor with tremendous verve and precision, but not always with any very\ngreat winning individuality of solo playing. This, no doubt, was all part\nof the Toscanini style, with which it is most certainly compatible. Less\nobviously compatible with the style was another general defect of the\nseries that at times seemed, at least on this side of the Atlantic,\nincomprehensible: the maintenance over a long period of a standard of\nrecording well below the current average.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe series has now been reissued, complete but with each disc separately\navailable, by R.C.A. In general, substantial improvement in sound has\nproved possible. Each sleeve, indeed, is labelled \"A New Orthophonic High\nFidelity Recording\"; but this description (if it means anything at all) is\nsurely over-optimistic. Certainly the new surfaces are everywhere\nfirst-class; yet many of the tapes have a heavy background, not helped by\nan emphasis of the bass in reproduction usually made necessary by a\nlightness here in the original sound. And the fidelity of this sound in\nitself still varies substantially from one symphony to another. At its\nbest, it offers what is probably the richest and most compelling version of\nToscanini's Beethoven we have ever been able to hear on disc. At its worst,\nit is distinctly less happy.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe couplings of symphonies not occupying a complete disc have been changed\nfrom those of the previous H.M.V. pressings in order to provide a\nchronological sequence.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThus R.C.A. RB16101 now couples Symphonies Nos. I and 2; both of them, as\nrecordings, among the best of the set. The performance of the First, too,\nhas every virtue - unless perhaps to anyone who, insisting on some degree\nof relief to the tension, thought it imperative to ease up a little for at\nleast the trio of the minuet. The Second Symphony goes equally well; the\nperformance is a model expression of a forceful view of the work.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe Eroica is on RB16102. Here Toscanini follows Beethoven in his more\nlyrical moments perhaps rather more readily, and gives a most moving\nperformance, marred only by an uncertain sound to the horn-playing in the\nscherzo's trio. But the recording is not the equal of the performance; it\nis boxy - though not, happily, throughout in a degree you might well fear\nfrom hearing only the opening two chords, if that is the word for such\nconfined explosions.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nRB16103 couples the Fourth and Fifth symphonies. The Fourth offers another\ncompletely convincing performance, with a beautifully lyrical reading of\nthe slow movement; and the recording is acceptable, with less surface\ntrouble than previously. On the whole, the Fifth, I think, is not quite so\nsuccessful. The fierce music, it need hardly be said, receives a fierce\nperformance, and the effect is certainly impressive; but the recording is\nsometimes. unduly thin. (At the beginning of the slow movement the bass of\nthe music is simply missing.)\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe Pastoral comes on RB16104. Here the recording is rather good, save only\nperhaps at the climax of the storm; and the performance has many virtues\nindeed. The brook may seem to some listeners to be flowing rather fast in\nthe second movement; but if this is so it is surely preferable to\nstagnation. There are, of course, already many outstandingly good Pastorals\nin the catalogues; this one comes very close to joining them.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe Seventh symphony, RB16105, suffers from a generally poor quality of\nsound, becoming harsh and distorted at the more powerful orchestral\nmoments. These occur frequently, not only because of the nature of the\nmusic, but also because of the undoubtedly Olympian qualities of the\nperformance. Most listeners, however, will probably need to exercise some\nconsiderable degree of resolution in order fully to enjoy them.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nMuch less resolution, fortunately, is necessary for enjoyment of the Eighth\nsymphony. This is rounder-toned, and in general boasts one of the better\nrecordings of the R.C.A. series. Yet the symphony itself is above all that\none of Beethoven's series that demands some relaxation; and though this is\nof course forthcoming from Toscanini to some extent, yet the necessary\namiability does seem to come more easily to some other conductors.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThe Eighth symphony is on one side of RB 16106, coupled with the first\nmovement of the Ninth*, itself completed on RB16107. The Choral adds to the\norchestral forces four soloists, who are all in varying degrees inadequate,\nand the Robert Shaw Chorale, who sing well and are not. But although\nToscanini gives a tireless and fully convincing reading of the monumental\nwork there is a further, non-vocal obstruction to the performance making\nits full effect: a recording which, never really very bright, tails off at\nthe end in a degree of distortion not to be found in the earlier H.M.V.\npressings.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nNevertheless as a whole this series is a most valuable reissue. The best of\nmodern recording is in the nature of the case not to be expected; but we\nmust be grateful to R.C.A. for allowing us to hear much of the Toscanini\nBeethoven in the best physical sound hitherto possible. And it is, in\ngeneral, a marvellous Beethoven: relentless, often, yet always at least a\nconvincing view of the music. And less seemingly relentless, perhaps, in\nnormal, sane life, than when chain-listening to the nine symphonies on end:\na lunatic undertaking not at all calculated to show each work, or each\nperformance, in its best light.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThese works, I know, need no description, the performances little. But the\nrecordings do vary quite considerably, and it might be useful to end by\nsuggesting a single disc for the man who cares very much what his\ngramophone sounds like, yet, most understandably, feels that this classic\nToscanini set must at least be represented in his library. He might well\nchoose RB16101 - superlative performances, decently recorded, of the First\nand Second symphonies.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eM.M., The Gramophone,\u003c\/b\u003e July 1958\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e*The alternate Ninth Symphony heard in the present release was the live TV\nbroadcast transmission of 3 April 1948, the second of ten telecasts and the\nonly Toscanini Beethoven Ninth to be broadcast from Studio 8H rather than\nCarnegie Hall. Dramatic improvements have been made in sound quality here,\nthough there is noticeable treble drop-off at the ends of disc sides. This\nwas the first time Toscanini worked with Robert Shaw for a broadcast –\nMortimer Frank states that Toscanini considered Shaw “the finest choral\nconductor he worked with at NBC”.\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI \u003c\/b\u003eThe Nine Beethoven Symphonies, Volume 3\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e1. RADIO-TV Introduction  (5:16)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro ma non troppo, un poco maestoso  (13:06)\u003cbr\u003e3. 2nd mvt. - Scherzo. Molto vivace - Presto  (13:11)\u003cbr\u003e4. 3rd mvt. - Adagio molto e cantabile  (13:29)\u003cbr\u003e5. 4th mvt. - Presto - Allegro assai  (23:11)\u003cbr\u003e\u003cbr\u003e6. RADIO-TV Applause and closing announcements  (4:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eConcert of 3 April 1948\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAnn McKnight, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eJane Hobson, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eIrwin Dillon, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eNorman Scott, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003eCollegiate Chorale, \u003c\/b\u003e\u003cbr\u003edirector:\u003cb\u003e Robert Shaw\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eRecorded at Studio 8H, NBC Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini\u003cbr\u003e\u003cbr\u003eTotal duration:  73:02\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC600.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC600.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fConcert review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: 22px; font-weight: bold; font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eTOSCANINI LEADS BEETHOVEN’S 9TH\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eImpressive Offering in Season Finale With NBC Orchestra Carried on Video Network\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: 14px; font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eBy OLIN DOWNES\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eArturo Toscanini completed his tenth season and gave his 169th concert as conductor of the NBC Symphony Orchestra yesterday afternoon in Radio City with a performance of Beethoven's Ninth Symphony. This performance, in response to overwhelming demands that were country-wide, was televised, The NBC Symphony was assisted by the Collegiate Chorale, which is directed and had been prepared for Mr. Toscanini by Robert Shaw. The assisting soloists were Anne MacKnight, soprano; Jane Hobson, contralto; Irwin Dillon, tenor, and Norman Scott, bass.\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eWe are not greatly impressed by television in its present stage of development, at least, as beheld yesterday in the sounding and picturing of Mr, Toscanini conducting the Ninth Symphony. The picture does not do justice to the appearance and expression of the conductor; one looks at a small screen as through the long end of the opera glass, and the sound transmission is, or was yesterday, inferior to that of the straight radio broadcast.\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eIt was more in spite of than because of the television effect — interesting as evidently it is to citizens far distant who cannot personally attend Toscanini performances — that we found this performance so impressive. The instrumental movements, generally conceded as the strongest of this great symphony, were interpreted with the acme of breadth and grandeur and also with the lyricism that lies at the base of all music and also at the base of Mr. Toscanini’s art.\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eWhen it came to the finale the chorus accomplished more or less of the impossible, and responded to the conductor’s wishes with the intelligence and the fervor that is possible to youth and inspired by age when age is personified by an artist of Toscanini’s virile brain and temperament. Only for an instant did pitch sag. To hear a B flat sounded and sustained at the imperious bidding of the man with the baton was but one of the phenomena of the occasion.\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eFor we are not speaking of virtuosity, but of interpretation. When the voices soared with the thought of starry skies and millions advancing to the destiny of man's brotherhood the tone carried the color as well as the verbal symbol of the thought.\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eAnd here was something, only to be experienced through the agency of television — the sight of the maestro, face and eyes aflame, himself shouting forth the glorious words which become one of the greatest and simplest passages in the whole work — the cry of the chorus, repeated — “Vor Gott! Vor Gott!”\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eIt was an uncommonly good quartet. And like the chorus, whatever the difficulty or angularity of the vocal writing, it sang. It sang individually and in ensemble, with an eloquence and prevailing tonal beauty which were not abandoned in the most difficult passages, or however high the soprano's range.\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eFor us, the all-sufficient fact of yesterday afternoon was Toscanini’s interpretation of the Ninth Symphony.\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eThe audience was reminded yesterday afternoon that when Toscanini made his first appearance with the NBC Symphony, newly organized for him, a decade ago, the announcer expressed the wish that the unseen audience of the air could not only hear but see the maestro as he advanced to the platform. Yesterday distant listeners did see him. It is not a negligible phenomenon!\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eAt the end of the performance there was a wildly enthusiastic demonstration. Returning repeatedly to the platform, Mr. Toscanini shared the plaudits with the orchestra, the soloists, the chorus and Robert Shaw.\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-family: Book Antiqua, Palatino, Palatino Linotype, Palatino LT STD, Georgia, serif;\"\u003eBecause the heat of the television lights had caused the conductor so much discomfort at the broadcast last Saturday, the air-cooling system in the studio was turned on for three and a half hours before yesterday’s program.\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eNew York Times, 4 April 1948\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010080031086,"sku":"wyc1789306408698","price":13.18,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010080063854,"sku":"agh1789306408699","price":9.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010080096622,"sku":"meu1789306408700","price":7.73,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/toscanini-beethoven---the-symphonies-vol-3-1948---pasc600_1.jpg?v=1789306415","url":"https:\/\/www.harborviewgoods.shop\/products\/toscanini-beethoven-the-symphonies-vol-3-1948-pasc600","provider":"My Store","version":"1.0","type":"link"}